Exquisitus Speculum

Video Installation

Foyer
10:00 Friday 7 December > 20:00 Saturday 15 December

Exquisitus speculum ​​because Leonardo started from the anatomical rational perfection’s principle able to dominate the space around her/him (the human being). A sort of machine with an harmonious architecture that had all the tools to evolve and project itself into the technological future, creator of the new but containing its past: an exquisite product of its time in which it’s possible to mirror her/himself.

In the ​Exquisitus speculum the spectator is measured and interacts with the proportions of the Vitruvian Man by Leonardo Da Vinci immersing her/himself in her/his own unconscious harmonious proportion’s wonder. The interaction with the infinite but organized space and geometric proportion’s code’s revelation, make the human beings the true and first creator of their own, natural, tension to perfection and of the intimate and cosmic equilibrium at the same time.

A journey across time and space through an interactive mirror of light and painting. The invitation to the user to participate, as a single protagonist, in a game, maybe ironic and irreverent, in which the decoding of her/his image, intended as a path of measurement and analysis of him/herself, in which the her/him self’s decode, makes her/him a sensorial journey’s the performer in her/his own human dimension.

The him self/her self’s research in space and time.

Why the Vitruvian Man: symbolism
The man drawn by Leonardo with pen and ink is a perfect synthesis between geometry and anatomy, between harmony and balance. The man, with classical inspiration’s perfect proportions, entirely occupies a circular space, that alludes to Infinite, to which it’s linked with legs and arms but, in his doubling, alludes also at Earth Square to which belongs and which belongs to him. The Renaissance man, according to Leonardo’s vision, already has the knowledge that he needs to go beyond, beyond Hercule’s Pillars crossed by Ulysses, beyond the “known”. He’s ready to sail for a journey without return to search other truth, new logics and new measurements to access new knowledge. He dominates the space around him but it’s not enough. The Renaissance man aspires to knowledge, to new technologies’ possession, to object’s invention never seen before. He wants to possess new instruments but not be possessed (tragic destiny of our times).

The binomial Man-Science, that is the fusion of human awareness of knowledge and the balance with the Science-Technique, meant as an instrument of exploration, is the only key to any form of evolution and, at the same time, the key to a deeper unimagined knowledge of the self.

Symbolic content’s Artistic transposition
The Vitruvian man transcends in a constellation of bright stars: the Suns, by veronese artist Federico Ferrarini. The Suns, compared to an ideal anatomy, occupy the seven vital chakras’s points: head, throat, heart, pelvis and so on.

The sun-chakras painted on a large light canvas, will seem to pulsate/vibrate, shine and come to life once irradiated by beams of light that will strike from behind the canvas with intermittent rhythm or according to precise and preordained motions. Through digital art and creativity of the Polish-Hungarian duo Elektro Moon, the artist try to give life and dynamism in the imaginary creature suggested by the pictorial chakras.

This psychedelic effect, that has the task of creating a life beat in the work, will take place as soon as the user finds her/himself in a certain position and in a determinated angle in front of the canvas thanks to sensors/cameras/kinet. Only then, as in front of a mirror, she/he will see and perceive her/himself as a living perfect creature and will react to the incitement provoked by the lights and colours in a sort of interactive empathic process where the future’s human meets the Renaissance’s man in a cosmic and universal context of forgiveness and comprehension.

Ginevra Gadioli

Artists : Federico Ferrarini (Ita), Elwira Wojtunik ( pl) and Popesz Csaba Láng (hu)
Concept and Curator: Ginevra Gadioli
Size: 200 • 140 cm
Tecnique: Pure pigments on micro-perforated polyethylene and open frameworks, PureData facetracking.
Year: 2018

The idea has born from editor/artistic director Ginevra Gadioli.

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